This is the second installment of a series of dialogs with photographers who stood out of Shakodo for being extremely helpful to the community. This time I asked questions to Jim Greipp of Pau Hana Productions.
Today the Musea Blog published an interview about my opinion for licensing photographic works.
A dialog with Seth Resnick, photographer, industry expert, consultant and price advisor.
Your Salary - The aggregate assignment fees you earn throughout any given year should be at least equivalent to the annual salary of an employee doing the same kind of work for someone else.
Net Profit - At this point it is appropriate to include a more academic definition of profit. Conventional wisdom has always defined a simple formula for photographers and other sole practitioners to follow.
The Components of a Price - Considering all of the different kinds of fees, expenses, mark-ups, and taxes, the criteria for pricing break down like this.
A Wide Range of Fees Means a Wider Range of Clients - Each one of the many skills you have mastered corresponds to a discrete fee that should be billed to your clients, either directly or indirectly.
A Shift in the Dialog About Value - You have learned what a price is, if not - yet - how to come up with one. With that in mind, the first thing to understand about pricing photography is that you're not really pricing photographs at all.
You are not in business to be a photographer; you are in business to make money!
Later today, I've decided it's time to put up our advertised prices. I've taken the view that having -some- advertised rates works really well in getting me new clients, and when I've asked clients their views (part of our 'customer satisfaction surveys') several have said that having an idea about rates helped convince them to give us a call. - You do ask customers why they picked you?
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